In this chapter black British filmmaker John Sealey gives an account of the research and thinking that lay behind his short film about a French African soldier taken prisoner by the Germans in World War Two. The chapter reflects on his own practice in representing the black subject and linking historical and contemporary themes, against the background of a critical account of the ways in which black subjects have been represented in narrative cinema. It argues for the value of a surrealist technique in forcing audiences to reflect on the seeming paradox of the Black German.